FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Allen Anderson’s “Linen,” plus Beethoven Violin Sonatas Nos. 6 and 7 This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Beethoven’s heroic and youthful Violin Sonata No. 3 and the Jesse Jones Scherzo it inspired This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!

FEATURING earspace earspace is an ensemble consisting of violin, viola, cello, flute, oboe, clarinet, piano, and percussion that performs a combination of conducted and unconducted chamber music of a wide variety of scopes. Passionate producers, the ensemble is dedicated to both commissioning new, immersive works and amplifying rarely-performed gems of the repertoire. Founded in North Carolina, the group is now based across the US and performs regularly around the east coast, collaborating with organizations including the Southern Exposure New Music Series, Towson University, Duke University, UNC Chapel Hill, the Peabody Institute, Asheville Ballet, Carolina Performing Arts, and others. The ensemble seeks to expose the inherent potentials within every moment and space, cultivating visceral reactions unique to every manifestation. Through their projects, they explore the extremities of contemporary performance and work to bring audiences closer to the music they experience. PROGRAM TBA PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This performance is part of the 2026-2027 Conversations in Modern Music series and is funded by the Jaroslav F. and Barbara S. Hulka Fund for Music in the Chapel Hill community.

FEATURING Grace Anderson, cello Nicholas DiEugenio, violin Simon Ertz, viola Leonid Finkelshteyn, bass Eunho Kim, violin Jessica Kunttu, bassoon Anna Lampidis, oboe Rachel Niketopoulos, horn Donald Oehler, clarinet PROGRAM Franz Schubert Octet in F major, D. 803 W.A. Mozart Oboe Quartet in F major, K. 370/368b TICKETS $15 general admission $10 students, faculty, and staff Free UNC Music students, faculty, and staff Purchase tickets online. Tickets are also available at the door, 30 minutes prior to the concert start time. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This event is part of the 2026-2027 William S. Newman Artists Series, a series of select concerts celebrating the alliance of scholarship and performance that animates the lives of music faculty and students at Carolina.

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Beethoven’s final Violin Sonata, the elegiac and enigmatic op. 96, along with Tonia Ko’s Tribute: Axis II This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. This concert is presented as part of the NCHIP Festival. ADMISSION Free, no reservation required. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!

FEATURING Kelariz Keshavarz, flute Grace Anderson, cello PROGRAM J.S. Bach / Gaspar Hoyos: Alemania Latina Bach’s Partita with Latin-groove bass line Villa-Lobos: The Jet Whistle Brazilian folk with counterpoint Gaspar Cassadó: Intermezzo e Danza Finale from Solo Cello Suite Andalusian flamenco on the cello Marin Marais: Les Folies d’Espagne French baroque, variations on an Iberian dance Eve Beglarian: I Will Not Be Sad in This World An Armenian elegy for alto flute and prerecorded audio Reza Vali: Folk Songs set no. 9 Iranian folk with extended techniques TICKETS $15 general admission $10 students, faculty, and staff Free UNC Music students, faculty, and staff Purchase tickets online. Tickets are also available at the door, 30 minutes prior to the concert start time. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. This event is part of the 2026-2027 William S. Newman Artists Series, a series of select concerts celebrating the alliance of scholarship and performance that animates the lives of music faculty and students at Carolina.

To be in the room when Yo-Yo Ma and Emanuel Ax perform together is to witness a musical relationship shaped by more than four decades of friendship, trust, and curiosity. Ax has described their collaboration as one in which the music leads and the musicians follow. Their performances carry an ease and intimacy that only comes from years of listening closely to one another, responding in the moment, and returning again and again to the joy of making music together. What makes this collaboration remarkable is not simply technical mastery. It is the sense of connection that runs through every note. Audiences can hear it in the way one musician follows the other’s lead, anticipates a phrase, or finds space for an unexpected idea to emerge. Both artists are familiar faces at Carolina Performing Arts; Ma through multiple appearances with the Silkroad Ensemble and Ax through recitals and orchestral performances. Experiencing them together offers a rare opportunity to witness two lifelong friends in conversation through music. Student tickets always $11. Eligible for CLE. Find out more and buy tickets at:

FEATURING Nicholas DiEguenio, violin Mimi Solomon, piano PROGRAM Featuring Beethoven’s “Spring” Sonata and Robert Honstein’s Olmsted This season, Gut Instinct takes on the large-scale project “To Beethoven Rather Than To Seem,” marking 200 years since Beethoven’s death and 250 since the U.S. Declaration of Independence. Over the course of five concerts, Nicholas DiEugenio and pianist Mimi Solomon will present all ten Beethoven Sonatas on period instruments along with five commissioned works written expressly for them. PARKING Please plan to arrive early as parking on campus can be tricky. Learn more about parking and directions to UNC-Chapel Hill’s campus. The Gut Instinct Chamber Music Project, now in its third season, is a concert series in the Triangle area which brings UNC-Chapel Hill and Duke University’s historical instrument collections together with artists committed to presenting inspired, visceral, historically informed performances of the 19th-century chamber music repertoire. The series features music of female composers and their artistic circles. The name “Gut Instinct” is a play on words. In 19th-century Europe, the violin, viola, and cello were strung with (sheep) gut. All of the artists collaborating with the Pleyel and Graf pianos at UNC-Chapel Hill (built in 19th-century Paris and Vienna, respectively), as well as the Clementi piano at Duke (early 19th-century England) use these gut string materials. The turn of phrase “gut instinct” also refers to the visceral, accessible nature of the musical performances that this series presents. Our mission is to make “Historically Informed Performance” accessible, relatable, and culturally relevant! We also want to feature these special pianos that are rarely heard by the public, along with great music by female composers which has remained lesser known to the greater public for far too long, and living composers who are keeping our art form alive!